Název: The weapon of mousikē in Euripides' Cyclops
Zdrojový dokument: Graeco-Latina Brunensia. 2021, roč. 26, č. 2, s. 149-165
Rozsah
149-165
-
ISSN1803-7402 (print)2336-4424 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/GLB2021-2-9
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/144591
Type: Článek
Jazyk
Licence: CC BY-SA 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plot unfolds through flashes of playful utterances that relate to Greek song culture. Each of these subversively pokes fun at the dichotomy between the civilised and the uncivilised. Forms of and references to choreia and mousikē, embedded in the performative context of the satyr-drama, function on two levels: on the level of plot (traditional myth put on stage), they constitute a weapon against the giant; on the level of community and emotions, they reveal that, by the end of the 5th century, protection offered by culture becomes vulnerable.
Note
The research was supported in part by a grant (OTKA K-125518) from the Hungarian National Scientific Research Foundation.
Reference
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[25] Konstantakos, I. M. (2005). Staged Symposia in Greek Comedy. Mnemosyne, 58(2), 183–217. | DOI 10.1163/156852505774249532
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[28] Laemmle, R. (2013). Poetik des Satyrspiels. Heidelberg: Universitätsverlag Winter.
[29] LeVen, P. A. (2014). The Many-Headed Muse. Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge: Cambridge University Press.
[30] LIMC = Lexicon Iconographicum Mythologiae Classicae. (1981‒1999). Zürich: Artemis Verlag.
[31] Lissarrague, F. (1990). Why Satyrs Are Good to Represent. In J. J. Winkler, & F. I. Zeitlin (Eds.), Nothing to do with Dionysos? Athenian drama in its social context (pp. 228–236). Princeton: Princeton University Press.
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[33] Mastromarco, G. (1998). La degradazione del mostro: la maschera del Ciclope nella commedia e nel dramma satiresco del quinto secolo a.C. In A. M. Belardinelli et al. (Eds.), Tessere: frammenti della commmedia greca: studi e commenti (pp. 9–42). Bari: Adriatica editrice.
[34] Modini, F. (2019). The Cyclops' Revenge. Aelius Aristides on Plato, Philoxenus, and New Music. Greek and Roman Musical Studies, 7, 51–69. | DOI 10.1163/22129758-12341334
[35] Murray, O. (1990). Sympotica. A Symposium on the Symposion. Oxford: Oxford University Press.
[36] Nagy, G. (2007). Did Sappho and Alcaeus Ever Meet? Symmetries of Myth and Ritual in Performing the Songs of Ancient Lesbos. In A. Bierl, R. Laemmle, & K. Wesselmann (Eds.), Literatur und Religion I: Wege zu einer mythisch-rituellen Poetik bei den Griechen (pp. 211–69). Berlin – New York: De Gruyter.
[37] Nagy, G. (2011). A second look at the poetics of re-enactment in Ode 13 of Bacchylides. In L. Athanassaki, & E. Bowie (Eds.), Archaic and Classical Choral Song. Performance, Politics and Dissemination (pp. 173–206). Berlin – Boston: De Gruyter.
[38] Olsen, S. (2020). Solo Dance in Archaic and Classical Greek Literature: Representing the Unruly Body. New York: Cambridge University Press.
[39] Olson, S. D. (2007). Broken Laughter. Select Fragments of Greek Comedy. Oxford: Oxford University Press.
[40] OSC = O'Sullivan, P., & Collard, Ch. (Eds. & Transl. & Comm.). (2013). Euripides: Cyclops and Major Fragments of Greek Satyric Drama. Oxford: Oxbow Books.
[41] PCG = Kassel, R. & Austin, C. (Eds.). (1983–2001). Poetae Comici Graeci. Berlin: De Gruyter.
[42] PMG = Page, D. L. (1962). Poetae melici Graeci. Oxford: Oxford University Press.
[43] Pöhlmann, E. (2015). Epicharmus and Aeschylus on Stage in Syracuse in the 5th Century. Greek and Roman Musical Studies, 3, 137–166.
[44] Popp, H. (1971). Das Amoibaion. In W. Jens (Ed.), Die Bauformen der griechischen Tragödie (pp. 221–276). München: Wilhelm Fink.
[45] Power, T. (2013). Kyklops Kitharoidos: Dithyramb and Nomos in Play. In B. Kowalzig, & P. Wilson (Eds.), Dithyramb in Context (pp. 232–256). Oxford: Oxford University Press.
[46] Prauscello, L. (2014). Performing Citizenship in Plato's Laws. Cambridge: Cambridge University Press.
[47] Pütz, B. (2003). The Symposium and Komos in Aristophanes. Stuttgart – Weimar: J. B. Metzger.
[48] Revermann, M. (2006). The Competence of Theatre Audiences in Fifth- and Fourth-Century Athens. The Journal of Hellenic Studies, 126, 99‒124. | DOI 10.1017/S0075426900007680
[49] Rossi, L. E. (1971). Il Ciclope de Euripide come κῶμος 'mancato'. Maia, 23, 10–38.
[50] Rothwell, Jr. K. S. (2007). Nature, Culture, and the Origins of Greek Comedy. A Study of Animal Choruses. New York: Cambridge University Press.
[51] Seaford, R. (Ed. & Comm.). (1984). Euripides: Cyclops. Oxford: Oxford University Press.
[52] Semenzato, C. (2016). Orpheus and mousikê in Greek Tragedy. Trends in Classics, 8, 295–316.
[53] Shaw, C. A. (2014). Satyric Play. The Evolution of Greek Comedy and Satyr Drama. New York: Oxford University Press.
[54] Slenders, W. (2005). λέξις ἐρωτική in Euripides' Cyclops. In G. W. M. Harrison (Ed.), Satyr Drama. Tragedy at Play (pp. 39–52). Swansea: The Classical Press of Wales.
[55] Squire, M. (2009). Image and Text in Graeco-Roman Antiquity. Cambridge: Cambridge University Press.
[56] Storey, I. C. (Ed. & Transl.). (2011). Fragments of Old Comedy I–III. Cambridge, MA – London: Harvard University Press.
[57] Swift, L. A. (2010). The Hidden Chorus. Echoes of Genre in Tragic Lyric. New York: Oxford University Press.
[58] Taplin, O. (1977). Did Greek Dramatists Write Stage Instructions? Proceedings of the Cambridge Philological Society, 23, 121‒132. | DOI 10.1017/S0068673500003953
[59] Touchefeu-Meynier, O. (1997). Polyphemos I. In LIMC (Vol. VIII, 1 Suppl.; pp. 1011–1019).
[60] TrGF = Kannicht, R., Snell, B. & Radt, S. (Eds.). (1971–2004). Tragicorum Graecorum Fragmenta. Göttingen: Vandenhoeck und Ruprecht.
[61] Uther, H-J. (2004). The Types of International Folktales. A Classification and Bibliography. Helsinki: Suomalainen Tiedeakatemia.
[62] Van der Valk, M. (Ed.). (1987). Eustathii Archiepiscopi Thessalonicensis Commentarii ad Homeri Iliadem pertinentes (Vol. 4). Lugduni Batavorum: Brill.
[63] Voelke, P. (2001). Un théâtre de la marge. Aspects figuratifs et configurationnels du drame satyrique dans l'Athènes classique. Bari: Levante editori.
[64] Weiss, N. A. (2018). The Music of Tragedy. Performance and Imagination in Euripidean Theater. Oakland, CA: University of California Press.
[2] Anderson, G. (2000). Fairy Tale in the Ancient World. London – New York: Routledge.
[3] Bakola, E. (2010). Cratinus and the Art of Comedy. Oxford – New York: Oxford University Press.
[4] Battezzato, L. (2005). Lyric. In J. Gregory (Ed.), A Companion to Greek Tragedy (pp. 149–166). Malden, MA – Oxford – Carlton: Blackwell.
[5] Bierl, A. (2009). Ritual and Performativity: The Chorus in Old Comedy (transl. A. Hollmann). Cambridge, MA: Harvard University Press and the Center for Hellenic Studies.
[6] Calame, C. (1977). Les choeurs de jeunes filles en Grèce archaïque. Roma: Ed. dell'Ateneo & Bizarri.
[7] D'Alessio, G. B. (2007). Ἢν ἰδού: ecce satyri (Pratina, PMG 708 = TrGF IV F 3). Alcune considerazioni sull'uso della deissi nei testi lirici e teatrali. In F. Perusino, & M. Colantonio (Eds.), Dalla lirica corale alla poesia drammatica. Forme e funzioni del canto corale nella tragedia e nella commedia greca (pp. 95–128). Pisa: Edizioni ETS.
[8] D'Alessio, G. B. (2020). Dancing with the dogs: mimetic dance and the hyporcheme (on Pind. fr. *107M = Simonides 255 Poltera). In P. Agócs, & L. Prauscello (Eds.), Simonides Lyricus: Essays on the 'other' classical choral lyric poet (Cambridge Classical Journal Suppl., 42; pp. 59–80). Cambridge: The Cambridge Philological Society.
[9] De Poli, M. (2017). Electra Loves Asyndeton. A Survey on Asyndetic Series of Imperatives in Ancient Greek Drama. In M. De Poli (Ed.), Euripides. Stories, Texts & Stagecraft (pp. 63–72). Padova: University Press.
[10] Faraone, Ch. (2008). Mystery Cults and Incantations: Evidence for Orphic Charms in Euripides' Cyclops 646‒648. Rheinisches Museum für Philologie, 151(2), 127–142.
[11] Frankfurter, D. (2001). The Theory and Practice of the Magical Historiola in Ritual Spells. In M. W. Meyer, & P. A. Mirecki (Eds.), Ancient Magic and Ritual Power (pp. 457–476). Leiden: Brill.
[12] Giuliani, L. (2013). Image and Myth. A History of Pictorial Narration in Greek Art (transl. J. O'Donnell). Chicago – London: University of Chicago Press.
[13] Graf, F., & Johnston, S. I. (2007). Ritual Texts for the Afterlife. Orpheus and the Bacchic Gold Tablets. London – New York: Routledge.
[14] Griffith, M. (2015). Greek Satyr Play. Five Studies. Berkeley, CA: California Classical Studies.
[15] Hall, E. (1989). Inventing the barbarian: Greek self-definition through tragedy. Oxford: Clarendon Press.
[16] Halliwell, S. (2012). Amousia: Living without the Muses. In I. Sluiter, & R. M. Rosen (Eds.), Aesthetic Value in Classical Antiquity (pp. 15–45). Leiden – Boston: Brill.
[17] Hamilton, R. (1979). Euripides' Cyclopean symposium. Phoenix, 33, 287–292. | DOI 10.2307/1087186
[18] Hansen, W. (2002). Ariadne's Thread: A Guide to the International Tales Found in Classical Literature. Ithaca – London: Cornell University Press.
[19] Harrison, G. W. M. (2005). Positioning of satyr drama and characterization in the Cyclops. In G. W. M. Harrison (Ed.), Satyr Drama. Tragedy at Play (pp. 237–258). Swansea: The Classical Press of Wales.
[20] Heubeck, A., & Hoekstra, A. (1989). A Commentary on Homer's Odyssey, II: Books IX–XVI. Oxford: Oxford University Press.
[21] HL = Hunter, R., & Laemmle, R. (Eds.). (2020). Euripides: Cyclops. Cambridge: Cambridge University Press.
[22] Hordern, J. H. (2002). The Fragments of Timotheus of Miletus. Oxford: Oxford University Press.
[23] Hordern, J. H. (2004). Cyclopea: Philoxenus, Theocritus, Callimachus, Bion. The Classical Quarterly, 54, 285–292. | DOI 10.1093/cq/54.1.285
[24] Konstan, D. (1990). An Anthropology of Euripides' Kyklōps. In J. J. Winkler, & F. I. Zeitlin (Eds.), Nothing to do with Dionysos? Athenian drama in its social context (pp. 207–227). Princeton: Princeton University Press.
[25] Konstantakos, I. M. (2005). Staged Symposia in Greek Comedy. Mnemosyne, 58(2), 183–217. | DOI 10.1163/156852505774249532
[26] Koster, W. J. W. (Ed.). (1975). Prolegomena de comoedia (Vol. I). Groningen: Bouma's Boekhuis.
[27] KPS = Krumeich, R., Pechstein, N., & Seidensticker, B. (Eds.). (1999). Das griechische Satyrspiel. Darmstadt: Wissenschaftliche Buchgesellschaft.
[28] Laemmle, R. (2013). Poetik des Satyrspiels. Heidelberg: Universitätsverlag Winter.
[29] LeVen, P. A. (2014). The Many-Headed Muse. Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge: Cambridge University Press.
[30] LIMC = Lexicon Iconographicum Mythologiae Classicae. (1981‒1999). Zürich: Artemis Verlag.
[31] Lissarrague, F. (1990). Why Satyrs Are Good to Represent. In J. J. Winkler, & F. I. Zeitlin (Eds.), Nothing to do with Dionysos? Athenian drama in its social context (pp. 228–236). Princeton: Princeton University Press.
[32] Lissarrague, F. (1994). Orphée mis à mort. Musica e Storia, 2, 269–307.
[33] Mastromarco, G. (1998). La degradazione del mostro: la maschera del Ciclope nella commedia e nel dramma satiresco del quinto secolo a.C. In A. M. Belardinelli et al. (Eds.), Tessere: frammenti della commmedia greca: studi e commenti (pp. 9–42). Bari: Adriatica editrice.
[34] Modini, F. (2019). The Cyclops' Revenge. Aelius Aristides on Plato, Philoxenus, and New Music. Greek and Roman Musical Studies, 7, 51–69. | DOI 10.1163/22129758-12341334
[35] Murray, O. (1990). Sympotica. A Symposium on the Symposion. Oxford: Oxford University Press.
[36] Nagy, G. (2007). Did Sappho and Alcaeus Ever Meet? Symmetries of Myth and Ritual in Performing the Songs of Ancient Lesbos. In A. Bierl, R. Laemmle, & K. Wesselmann (Eds.), Literatur und Religion I: Wege zu einer mythisch-rituellen Poetik bei den Griechen (pp. 211–69). Berlin – New York: De Gruyter.
[37] Nagy, G. (2011). A second look at the poetics of re-enactment in Ode 13 of Bacchylides. In L. Athanassaki, & E. Bowie (Eds.), Archaic and Classical Choral Song. Performance, Politics and Dissemination (pp. 173–206). Berlin – Boston: De Gruyter.
[38] Olsen, S. (2020). Solo Dance in Archaic and Classical Greek Literature: Representing the Unruly Body. New York: Cambridge University Press.
[39] Olson, S. D. (2007). Broken Laughter. Select Fragments of Greek Comedy. Oxford: Oxford University Press.
[40] OSC = O'Sullivan, P., & Collard, Ch. (Eds. & Transl. & Comm.). (2013). Euripides: Cyclops and Major Fragments of Greek Satyric Drama. Oxford: Oxbow Books.
[41] PCG = Kassel, R. & Austin, C. (Eds.). (1983–2001). Poetae Comici Graeci. Berlin: De Gruyter.
[42] PMG = Page, D. L. (1962). Poetae melici Graeci. Oxford: Oxford University Press.
[43] Pöhlmann, E. (2015). Epicharmus and Aeschylus on Stage in Syracuse in the 5th Century. Greek and Roman Musical Studies, 3, 137–166.
[44] Popp, H. (1971). Das Amoibaion. In W. Jens (Ed.), Die Bauformen der griechischen Tragödie (pp. 221–276). München: Wilhelm Fink.
[45] Power, T. (2013). Kyklops Kitharoidos: Dithyramb and Nomos in Play. In B. Kowalzig, & P. Wilson (Eds.), Dithyramb in Context (pp. 232–256). Oxford: Oxford University Press.
[46] Prauscello, L. (2014). Performing Citizenship in Plato's Laws. Cambridge: Cambridge University Press.
[47] Pütz, B. (2003). The Symposium and Komos in Aristophanes. Stuttgart – Weimar: J. B. Metzger.
[48] Revermann, M. (2006). The Competence of Theatre Audiences in Fifth- and Fourth-Century Athens. The Journal of Hellenic Studies, 126, 99‒124. | DOI 10.1017/S0075426900007680
[49] Rossi, L. E. (1971). Il Ciclope de Euripide come κῶμος 'mancato'. Maia, 23, 10–38.
[50] Rothwell, Jr. K. S. (2007). Nature, Culture, and the Origins of Greek Comedy. A Study of Animal Choruses. New York: Cambridge University Press.
[51] Seaford, R. (Ed. & Comm.). (1984). Euripides: Cyclops. Oxford: Oxford University Press.
[52] Semenzato, C. (2016). Orpheus and mousikê in Greek Tragedy. Trends in Classics, 8, 295–316.
[53] Shaw, C. A. (2014). Satyric Play. The Evolution of Greek Comedy and Satyr Drama. New York: Oxford University Press.
[54] Slenders, W. (2005). λέξις ἐρωτική in Euripides' Cyclops. In G. W. M. Harrison (Ed.), Satyr Drama. Tragedy at Play (pp. 39–52). Swansea: The Classical Press of Wales.
[55] Squire, M. (2009). Image and Text in Graeco-Roman Antiquity. Cambridge: Cambridge University Press.
[56] Storey, I. C. (Ed. & Transl.). (2011). Fragments of Old Comedy I–III. Cambridge, MA – London: Harvard University Press.
[57] Swift, L. A. (2010). The Hidden Chorus. Echoes of Genre in Tragic Lyric. New York: Oxford University Press.
[58] Taplin, O. (1977). Did Greek Dramatists Write Stage Instructions? Proceedings of the Cambridge Philological Society, 23, 121‒132. | DOI 10.1017/S0068673500003953
[59] Touchefeu-Meynier, O. (1997). Polyphemos I. In LIMC (Vol. VIII, 1 Suppl.; pp. 1011–1019).
[60] TrGF = Kannicht, R., Snell, B. & Radt, S. (Eds.). (1971–2004). Tragicorum Graecorum Fragmenta. Göttingen: Vandenhoeck und Ruprecht.
[61] Uther, H-J. (2004). The Types of International Folktales. A Classification and Bibliography. Helsinki: Suomalainen Tiedeakatemia.
[62] Van der Valk, M. (Ed.). (1987). Eustathii Archiepiscopi Thessalonicensis Commentarii ad Homeri Iliadem pertinentes (Vol. 4). Lugduni Batavorum: Brill.
[63] Voelke, P. (2001). Un théâtre de la marge. Aspects figuratifs et configurationnels du drame satyrique dans l'Athènes classique. Bari: Levante editori.
[64] Weiss, N. A. (2018). The Music of Tragedy. Performance and Imagination in Euripidean Theater. Oakland, CA: University of California Press.